c. 1300 (early 13c. as a surname), "spherical in shape; circular in outline," of persons or animals, "well-fed;" from Anglo-French rounde, Old French roont (12c., Modern French rond), probably originally *redond, from Vulgar Latin *retundus (source also of Provençal redon, Spanish redondo, Old Italian ritondo), from Latin rotundus "like a wheel, circular, round," related to rota "wheel" (see rotary). The French word is the source of Middle Dutch ront (Dutch rond), Middle High German runt (German rund) and similar words in the Germanic languages.
As an adverb from c. 1300. As a preposition from c. 1600, "so as to make a complete circuit" (as in round the world); 1715 as "throughout, all through" (as in round the clock); by 1743 as "so as to make a turn or partial circuit about" (as in round the corner). In many cases it is a shortened form of around (adv.).
Of numbers from mid-14c., "entire, full, complete, brought to completion," with the notion of symmetry extended to that of completeness. Round number for one only approximately correct, usually expressed in 10s, 100s, etc., is by 1640s. Compare round (v.). Round trip "an outward and return journey" is by 1844, originally of railways. A round-dance (1520s) is one in which the dancers move in a circle or ring. Round heels attested from 1926, in reference to incompetent boxers, 1927 in reference to loose women, implying in either case a tendency to end up flat on one's back.
"next in order after the fourth; an ordinal numeral; being one of five equal parts into which a whole is regarded as divided;" c. 1200, fift, from Old English fifta "fifth," from Proto-Germanic *finftan- (source also of Old Frisian fifta, Old Saxon fifto, Old Norse fimmti, Dutch vijfde, Old High German fimfto, German fünfte, Gothic fimfta),from *fimfe "five" (from PIE root *penkwe- "five") + *-tha, the word-forming element used to make ordinal numbers (see -th (1)). Normal development would have yielded fift; altered 14c. by influence of fourth.
Noun meaning "fifth part of a gallon of liquor" is first recorded 1938, American English; the noun in the music sense is from 1590s. Fifth Avenue (in New York City) has been used figuratively for "elegance, taste" at least since 1858. Fifth wheel "superfluous person or thing" attested from 1630s. It also was the name of a useful device, "wheel-plate or circle iron of a carriage" placed on the forward axle for support and to facilitate turning (1825). And the phrase sometimes is turned on its head and given a positive sense of "that which a prudent driver ought to take with him in case one of the others should break" (1817). Fifth-monarchy-man, 17c. for "anarchist zealot," is a reference to Daniel ii.44.
1808, "country house," from American Spanish rancho "small farm, group of farm huts," from Spanish rancho "small farm, hamlet," earlier "mess-room," originally, "group of people who eat together," from ranchear "to lodge or station," from Old French ranger "install in position," from rang "row, line," from Frankish *hring or some other Germanic source, from Proto-Germanic *hringaz "circle, ring, something curved" (from nasalized form of PIE root *sker- (2) "to turn, bend"). The evolution would seem to be from "group of people who eat together" to "group of people who work and live together." The earlier form of the word in English was rancheria (c. 1600).
The sense of "large stock-farm and herding establishment" is by 1847. In Spanish America, the rancho was a herding operation, distinguished from the hacienda, a cultivated farm or plantation. Meanwhile, back at the ranch as a cliche narration for scene shifts in old Western serials and movies is by 1957.
Ranch-house "principle dwelling house on a ranch" is attested from 1862. By 1947 it was the name given to the modernistic type of low, long homes popular among U.S. suburban builders and buyers after World War II, hence ranch, of houses, "single-story, split-level" (adj.); as a noun, "a modern ranch-style house," by 1952, also rancher (1955); diminutive ranchette is attested by 1948.
Ranch dressing is from 1970, originally in reference to popular Hidden Valley Ranch Salad Dressing Mix, sold by mail order.
Old English cropp "head or top of a sprout or herb, any part of a medicinal plant except the root," also "bird's craw" (the common notion is "protuberance"), cognate with Old High German kropf, Old Norse kroppr.
"The word has a remarkable variety of special senses ..." [Century Dictionary]. OED writes that "OE. had only sense 1. 'craw of a bird' and 3. 'rounded head or top of a herb'; the latter is found also in High German dialects (Grimm, Kropf, 4c); the further developments of 'head or top' generally, and of 'produce of the field, etc.' appear to be exclusively English."
Meaning "grain and other cultivated plants grown and harvested" (especially "the grain yield of one year") is from early 14c. (in Anglo-Latin from early 13c.). Probably this sense development is via the verbal meaning "cut off the top of a plant" (c. 1200).
From the notion of "top" comes the sense "upper part of a whip," hence "handle of a whip" (1560s), hence "a kind of whip used by horsemen in the hunting field" (1857). "It is useful in opening gates, and differs from the common whip in the absence of a lash" [Century Dictionary].
General sense of "anything gathered when ready or in season" is from 1570s. Meaning "a thick, short head of hair" is from 1795. Meaning "top or highest part of anything" is from late 14c. In Middle English crop and rote "the whole plant, crop and root," was figurative of totality or perfection. Crop-circle is attested by 1974.
1560s, in drama, "person who speaks the prologue and explains or comments on events on stage," from Latin chorus "a dance in a circle, the persons singing and dancing, the chorus of a tragedy," from Greek khoros "round dance; dancing-place; band of dancers; company of persons in a play, under a leader, who take part in dialogue with the actors and sing their sentiments at intervals."
The Greek word is of uncertain origin, because the original sense is unknown. Perhaps it is from PIE root *gher- (1) "to grasp, enclose," if the original sense of the Greek word is "enclosed dancing floor," or *gher- (2) "to like, want," if the original notion is "to rejoice."
Extension from dance to voice is because Attic drama arose from tales inserted in the intervals of the dance. In Attic tragedy, the khoros (of 12 or 15 (tragic) or 24 (comedic) persons) gave expression, between the acts, to the moral and religious sentiments evoked by the actions of the play. English 16c. theater adopted a stripped-down version of this.
When a Poet wished to bring out a piece, he asked a Chorus from the Archon, and the expenses, being great, were defrayed by some rich citizen (the khoregos): it was furnished by the Tribe and trained originally by the Poet himself [Liddell & Scott]
The meaning "an organized company of singers" is from 1650s. Meaning "the refrain of a song" (which the audience joins in singing) is from 1590s; that of "a song to be sung by a (large) chorus" is from 1744. Meaning "main part of a modern popular song" (as distinguished from the verse, q.v.) is by 1926, originally in jazz. As a verb, 1703, from the noun. Chorus girl "young woman who sings and dances in a stage chorus" is by 1852.
Meaning "inhabited place larger than a village" (mid-12c.) arose after the Norman conquest from the use of this word to correspond to French ville. The modern word is partially a generic term, applicable to cities of great size as well as places intermediate between a city and a village; such use is unusual, the only parallel is perhaps Latin oppidium, which occasionally was applied even to Rome or Athens (each of which was more properly an urbs).
First record of town hall is from late 15c. Town ball, version of baseball, is recorded from 1852. Town car (1907) originally was a motor car with an enclosed passenger compartment and open driver's seat. On the town "living the high life" is from 1712. Go to town "do (something) energetically" is first recorded 1933. Man about town "one constantly seen at public and private functions" is attested from 1734.
curd of milk coagulated, separated from the whey, pressed and used as food, Old English cyse (West Saxon), cese (Anglian) "cheese," from West Germanic *kasjus (source also of Old Saxon kasi, Old High German chasi, German Käse, Middle Dutch case, Dutch kaas), from Latin caseus "cheese" (source of Italian cacio, Spanish queso, Irish caise, Welsh caws).
Of unknown origin; perhaps from a PIE root *kwat- "to ferment, become sour" (source also of Prakrit chasi "buttermilk;" Old Church Slavonic kvasu "leaven; fermented drink," kyselu "sour," -kyseti "to turn sour;" Czech kysati "to turn sour, rot;" Sanskrit kvathati "boils, seethes;" Gothic hwaþjan "foam").
But de Vaan writes, "no etymology can be found which does not require some poorly-founded assumptions," and suggests a loan-word. Also compare fromage. Old Norse ostr, Danish ost, Swedish ost are related to Latin ius "broth, sauce, juice."
Earliest references would be to compressed curds of milk used as food; pressed or molded cheeses with rinds are from 14c. Transferred to other cheese-like substances by 1530s. As a photographer's word to make subjects hold a smile, it is attested from 1930, but in a reminiscence of schoolboy days, which suggests an earlier use. Probably for the forced smile involved in making the -ee- sound.
Green cheese is that newly made; the notion that the moon is made of green cheese as a type of a ridiculous assertion is from 1520s. To make cheeses (1835) was a schoolgirls' amusement of wheeling rapidly so one's petticoats blew out in a circle then dropping down so they came to rest inflated and resembling a wheel of cheese; hence, used figuratively for "a deep curtsy." Bartlett ("Dictionary of Americanisms," 1848) defines head cheese as "The ears and feet of swine cut up fine, and, after being boiled, pressed into the form of a cheese."
"1 more than six; the cardinal number which is one more than six; a symbol representing this number;" Old English seofon, from Proto-Germanic *sebun (source also of Old Saxon sibun, Old Norse sjau, Swedish sju, Danish syv, Old Frisian sowen, siugun, Middle Dutch seven, Dutch zeven, Old High German sibun, German sieben, Gothic sibun), from PIE *septm "seven" (source also of Sanskrit sapta, Avestan hapta, Hittite shipta, Greek hepta, Latin septem, Old Church Slavonic sedmi, Lithuanian septyni, Old Irish secht, Welsh saith).
Long regarded as a number of perfection (seven wonders; seven sleepers, the latter translating Latin septem dormientes; seven against Thebes, etc.), but that notion is late in Old English and in German a nasty, troublesome woman could be eine böse Sieben "an evil seven" (1662). Magical power or healing skill associated since 16c. with the seventh son ["The seuenth Male Chyld by iust order (neuer a Gyrle or Wench being borne betweene)," Thomas Lupton, "A Thousand Notable Things," 1579]. The typical number for "very great, strong," as in seven-league boots in the fairy story of Hop o'my Thumb. Also, formerly, in combination with days, years, etc., indicating merely a very long time.
By early 15c. as "the hour of 7 o'clock." As a high-stakes number for a throw in dice, late 14c. The Seven Years' War (1756-63) is also the Third Silesian War. The Seven Stars (Old English sibunsterri), usually refers to the Pleiades, though in 15c. and after this name occasionally was given to the Big Dipper (which also has seven stars), or the seven planets of classical astronomy. Popular as a tavern sign, it might also (with six in a circle, one in the center) be a Masonic symbol.
FOOL: ... The reason why the seven stars are no more than seven is a pretty reason.
LEAR: Because they are not eight?
FOOL: Yes, indeed: thou wouldst make a good fool.
["King Lear," I.v.]
An Old English masc. noun meaning "male witch, wizard, soothsayer, sorcerer, astrologer, magician;" see witch. Use of the word in modern contexts traces to English folklorist Gerald Gardner (1884-1964), who is said to have joined circa 1939 an occult group in New Forest, Hampshire, England, for which he claimed an unbroken tradition to medieval times. Gardner seems to have first used it in print in 1954, in his book "Witchcraft Today" ("Witches were the Wica or wise people, with herbal
knowledge and a working occult teaching usually used for good ...."). In published and unpublished material, he apparently only ever used the word as a mass noun referring to adherents of the practice and not as the name of the practice itself. Some of his followers continue to use it in this sense. According to Gardner's book "The Meaning of Witchcraft" (1959), the word, as used in the initiation ceremony, played a key role in his experience:
I realised that I had stumbled upon something interesting; but I was half-initiated before the word, 'Wica' which they used hit me like a thunderbolt, and I knew where I was, and that the Old Religion still existed. And so I found myself in the Circle, and there took the usual oath of secrecy, which bound me not to reveal certain things.
In the late 1960s the term came into use as the title of a modern pagan movement associated with witchcraft. The first printed reference in this usage seems to be 1969, in "The Truth About Witchcraft" by freelance author Hans Holzer:
If the practice of the Old Religion, which is also called Wicca (Craft of the Wise), and thence, witchcraft, is a reputable and useful cult, then it is worthy of public interest.
And, quoting witch Alex Sanders:
"No, a witch wedding still needs a civil ceremony to make it legal. Wicca itself as a religion is not registered yet. But it is about time somebody registered it, I think. I've done all I can to call attention to our religion."
Sanders was a highly visible representative of neo-pagan Witchcraft in the late 1960s and early 1970s. During this time he appears to have popularized use of the term in this sense. Later books c. 1989 teaching modernized witchcraft using the same term account for its rise and popularity, especially in U.S.
mid-14c., "fluid or juice of an animal or plant," from Old North French humour "liquid, dampness; (medical) humor" (Old French humor, umor; Modern French humeur), from Latin umor "body fluid" (also humor, by false association with humus "earth"); related to umere "be wet, moist," and to uvescere "become wet" (see humid).
In old medicine, "any of the four body fluids" (blood, phlegm, choler, and melancholy or black bile).
The human body had four humors—blood, phlegm, yellow bile, and black bile—which, in turn, were associated with particular organs. Blood came from the heart, phlegm from the brain, yellow bile from the liver, and black bile from the spleen. Galen and Avicenna attributed certain elemental qualities to each humor. Blood was hot and moist, like air; phlegm was cold and moist, like water; yellow bile was hot and dry, like fire; and black bile was cold and dry, like earth. In effect, the human body was a microcosm of the larger world. [Robert S. Gottfried, "The Black Death," 1983]
Their relative proportions were thought to determine physical condition and state of mind. This gave humor an extended sense of "mood, temporary state of mind" (recorded from 1520s); the sense of "amusing quality, funniness, jocular turn of mind" is first recorded 1680s, probably via sense of "whim, caprice" as determined by state of mind (1560s), which also produced the verb sense of "indulge (someone's) fancy or disposition." Modern French has them as doublets: humeur "disposition, mood, whim;" humour "humor." "The pronunciation of the initial h is only of recent date, and is sometimes omitted ..." [OED].
For aid in distinguishing the various devices that tend to be grouped under "humor," this guide, from Henry W. Fowler ["Modern English Usage," 1926] may be of use:
HUMOR: motive/aim: discovery; province: human nature; method/means: observation; audience: the sympathetic
WIT: motive/aim: throwing light; province: words & ideas; method/means: surprise; audience: the intelligent
SATIRE: motive/aim: amendment; province: morals & manners; method/means: accentuation; audience: the self-satisfied
SARCASM: motive/aim: inflicting pain; province: faults & foibles; method/means: inversion; audience: victim & bystander
INVECTIVE: motive/aim: discredit; province: misconduct; method/means: direct statement; audience: the public
IRONY: motive/aim: exclusiveness; province: statement of facts; method/means: mystification; audience: an inner circle
CYNICISM: motive/aim: self-justification; province: morals; method/means: exposure of nakedness; audience: the respectable
SARDONIC: motive/aim: self-relief; province: adversity; method/means: pessimism; audience: the self